Excerpt from Paper: [SPOILER ALERT!!!]
“Long before the quintessential scene of the Brother spearing a common stray cat with a pair of gardening shears, or the scene in which the Father goes psycho upside the Eldest sister’s head with a VHS tape, or even the nausea-inducing scene of brother and sister in an incestuous embrace—the audience receives a very loud warning of the weirdness to come. Giorgos Lanthimos’ film Dogtooth opens with the disconcerting image of actress Mary Tsoni disfiguring a Barbie doll, screaming at the top of her lungs as if it was her very own toes that were being cut off by the pair of scissors in her hand. It is at this point we, as the audience begins to wonder how deep into the rabbit hole of indie eccentricity are we jumping into.
Dogtooth, a bizarre twist of a “coming of age” story begins with a scene that very might very well denote an underlying layer of violence reminiscent of a repressive home in which children lacking agency, as well as an outlet for their creative energy turn to destruction instead.
…as illustrated by the cataclysmic chain of events that were to follow the Eldest sister’s viewings of Jaws and Rocky. The Father, symbolic of a totalitarian regime, goes after the roots of this “rebellion” so to speak, in order to quell the uprising and maintain the status quo he dictates.Nothing would ever be the same again, as noted by Fisher in his article “there is no returning to the sealed conditions which the films have contaminated (Fisher 25).” Once the Father has been made aware of this contamination, punishment is swiftly carried out.”
To be Continued…